Pioneers of Photography III Early Travel and...

Pioneers of Photography III Early Travel and Exploration

Roland BelgRave vintage photography

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Please see descriptions for the photographs at the back of this catalogue.

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The condition of all photographs has been described; all items in this catalogue are

guaranteed to be complete and in good condition unless otherwise stated. Invoices will be

rendered in £ sterling. The title of goods does not pass to the purchaser until the invoice has

been paid in full. Please note images reproduced in this catalogue are not to scale.

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Cover | 15. Photographer unidentified. Egyptian woman.

Back Cover | 11. PONTING, Herbert George. Mount Erebus and Iceberg.


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Pioneers of Photography III

Early Travel and Exploration


i

Roland Belgrave Vintage Photographs

1. FENTON, Roger. The Council of War on the day of the taking of the Mamelon Quarries. £2,500

2. FENTON, Roger. Croat soldiers, Crimea. £3,500


3. FENTON, Roger. The Staff at Headquarters, Crimea. £2,500

4 - 5. VISHNEVSKI, Stepan, studio (attributed to). Kalmyk Clergy, Astrakhan. £750


5.

6 - 8. SOMMER, Giorgio. Album of trades. £1,850


7.


9. CANEVA, Giacomo. Porto di Ripetta, Rome, Italy. £5,250


10. RUBELLIN, Maison. Camel trader, Symrna. £950


11. PONTING, Herbert George. Mount Erebus and Iceberg. £6,500

12. PONTING, Herbert George. Midnight in Antarctic Summer. £12,500


13. GOODWIN, Henry B. Female portrait. £2,750

14. LEHNERT, Rudolph and LANDROCK, Ernst Heinrich. Portrait of a woman. £1,250


15. Photographer unidentified. Egyptian woman.. £650

16. DU CAMP, Maxime. Colossi, Temple of Abu Simbel, Egypt. £2,500


17. DU CAMP, Maxime. Medinet-Habou, Luxor, Egypt. £950

18. FRITH, Francis. Portico of the Temple of Dendera, Egypt. £450


19. FRITH, Francis. Pharaoh’s Bed, Island of Philae, Egypt. £450


20 - 22. BONFILS, Felix. Palestine Album. £6.500


21.



23. BONFILS, Felix. Bab Al-Saghir Cemetery, Damascus, Syria. £850


24 - 25. DU CAMP, Maxime. Six views of Baalbek, Lebanon. £8,500


25.


26. DU CAMP, Maxime. The Mosque of Omar, Jerusalem. £3,750


27. DU CAMP, Maxime. Temple of Jupiter, Baalbek, Lebanon. £950

28. TRIPE, Linneaus. Amerapoora, corner of Mygabboodee-tee Kyoung. September - October 1855. £5,500


29 - 31. JACKSON, J and BENTLEY (attributed to). Burma Collection. £7,500


Roland Belgrave Vintage Photographs31. Roland Belgrave Vintage Photographs

32. KLIER, Philip Adolphe. Burmese Beauty. £650


33. AFONG, Lai. House-boat, Canton, China. £1,250


34. BLACK (John Reddie, editor). The Far East Journal of 1877.

The New Series, Volume 3, July to December, 1877. £14,750


35. PUN LUN (attributed to). Chinese studio portrait. £2,000

36 - 40. WU, Dr. Chinese views. £6,000


37.



39.



41. TRIPE, Linneaus. The Approach to the Temple at Trivadi. £7,500


42. BEATO, Felice. The Iron Bridge over the Gomti River, Lucknow. £750


43. BEATO, Felice. The Kutub Minar, Delhi. £950

44. BEATO, Felice. Nautch girls, Amritsar. £2750


45. BEATO, Felice. The Tara Wala Kothi Observatory, Lucknow. £750


46. BOURNE, Samuel. Bridge over the Rungnoo below Ging, Darjeeling. £350


47 - 49. BOURNE, Samuel. Views of India. Album. £15,000



49.


50. BURKE, William. Medical Staff, Kabul, Afghanistan. c.1880. £550


51 - 53. BOURNE, Samuel. India and Afghanistan Album. £12,500



53.


54. BOURNE, Samuel. Panorama of Calcutta. £6,500

55. BOURNE, Samuel. Source of the Ganges, Ice Cave at the foot of the Glacier. £1,250


56. BOURNE, Samuel. Tukvar, Darjeeling. £350


57. DIXON, Henry. The Ashurkhana, Dodda Ballapura, Mysore. £3,500


58. MURRAY, Dr John. A distant view of the Taj Mahal, Agra. £1,750


59. PENN, Albert Thomas Watson. Toda Woman. £1,750


60. Photographer unidentified. Fakir. £650

61. Photographer unidentified. Maharaja. £1,750


62. SHEPHERD, Charles and ROBERTSON, James (attributed to). Group portrait. £1,250


63. Unidentified Painter. Rajput Thakur. £5,500


64 - 65. WHEELER, J Talboys. Delhi Durbar. £4,500



66. HERBERT, F. Portrait, Samoa. £350

67. DUFTY, Francis Herbert. Fiji Islanders. £750


68. Photographer unidentified. Philippine portraits. £1,250

69

1. FENTON, ROGER.

The Council of War on the day of the taking

of the Mamelon Quarries. Lord Raglan,

Omar Pasha and General Pellissier.7 June

1855.

Salt print. Pasted on original mount, titled

in manuscript, another early photograph by

James Robertson pasted on verso.

190 by 157mm (7½ by 6¼ inches).

This group portrait can be dated to the first

half of June 1855. Pelissier did not become

French commander until the middle of May.

Fenton was away in Kertch from 22nd May

until the end of the month and then he left the

Crimea altogether on 22nd June. This photo

would not have been taken after the utterly

disastrous attack on the Redan on 18th - after

which Lord Raglan effectively lost the will to

live and died at the end of the month.

I suspect it was taken around the 7th June.

Fenton wrote on 4th June,”I am now at

headquarters taking a few portraits I am yet

in want of. Lord Raglan gave me a sitting

this morning and I have obtained a very good

likeness of him. General Pelissier, with whom

I breakfasted this morning, is coming the day

after tomorrow at five in the morning. It is

impossible to work after nine or ten from the

intense heat, which sends the stoppers flying

out of my bottles, and spoils every picture.”.

The picture was probably meant to record

for posterity the three commanders planning

the 18th June attack, about which they were

so confident that they scheduled it for the

anniversary of the Battle of Waterloo. In the

event, the action was a humiliation, so the

photo was given a bland title. If it had been a

success, the photo would perhaps have been

entitled something like, “Planning the Final

Victory.”

Many thanks to Mr Algernon Percy for

this information. See ‘A Bearskin’s Crimea;

London 2007’.

[ref: 1138] £2,500

2. FENTON, ROGER.

Croat soldiers, Crimea. c.1855.

Salt print. This particular salt print is an

oddity. It appears to be an artists proof,

showing the rebate (plate mark), this means

it was printed but not cropped, something

one does not see often. Agnew and Sons

also published this image at a later date.

In all for corners are pin holes, two in the

upper margin larger.

215 by 190mm (8½ by 7½ inches).

These soldiers are described as ‘Croat Chiefs’.

Most likely to be Austrian Croats, who

were brought to Balaklava to work on the

construction of a railway to Sebastopol.

[ref: 1215] £3,500

3. FENTON, ROGER.

The Staff at Headquarters, Crimea. c.1856.

Salt print. Pasted on original publisher’s

mount, printed title, publisher’s credit and

sitters index.

Agnew and Sons, London.

180 by 150mm (7 by 6 inches).

[ref: 1216] £2500

70Roland Belgrave Vintage Photographs

4 - 5. VISHNEVSKI, STEPAN, STUDIO

(ATTRIBUTED TO).

Kalmyk Clergy, Astrakhan. c.1870.

Albumen prints. Pasted on original card,

titled in Russian.


The Kalmyk people is the name given to the

Oirats, western Mongols in Russia, whose

descendants migrated from Dzhungaria

in 1607. Today they form a majority in

the autonomous Republic of Kalmykia

on the western shore of the Caspian Sea.

Kalmykia has Europe’s only Buddhist

government. Through emigration, small

Kalmyk communities have been established

in Ukraine, United States, France, Germany,

Switzerland, and the Czech Republic.

[ref: 1349] £750

6 - 8. SOMMER, GIORGIO.

Album of trades. c.1870.

Small folio (190 by 230mm.),

twenty-four albumen prints, four of which

are illustrations, the rest photographic

portraits and trades, contemporary hand-

colouring, frontispiece with photographer’s

studio stamp, all photographs numbered in

negative, very clean with fine details, each

image bordered in gilt, contemporary red

morocco, titled in gilt ‘Costumi’.

[ref: 1258] £1,850

9. CANEVA, GIACOMO.

Porto di Ripetta, Rome, Italy. c.1852.

Salt print from calotype negative, pasted on

original paper mount.

197 by 273mm (7¾ by 10¾ inches).

A beautiful view by Caneva. The

photographer’s title in manuscript is said to

be that of his own hand.

There were two harbours for the shipping on

the Tiber, one at Ripa Grande and the other

at Ripetta. The latter became the subject of

an architectural scheme in 1703-4, during

the reign of Clement IX. The architect

Alessandro Specchi built a flight of steps

leading up to the little square in front of the

church of S. Girolamo degli Schiavoni. As we

can see in this print there is a semi-circular

area in front of the church with a curving

flight of steps leading down to the rivers

edge. Taken from the opposite bank one can

also see Palazzo Borghese on the right. Porto

di Ripetta disappeared in 1901 when Ponte

Cavour was built.

A variant of this view is in The Library of the

Academy of Art, Copenhagen.

[ref: 1330] £5,250

10. RUBELLIN, MAISON.

Camel trader, Symrna. c.1880.

Albumen print. Oval corners,

pasted on original album sleeve,

titled in manuscript ‘Symrna’.

260 by 195mm (10¼ by 7¾ inches).

[ref: 1338] £950

71

11. PONTING, HERBERT GEORGE.

Mount Erebus and Iceberg.

8th October 1911.

Carbon print , Fine Art Society label affixed

to verso. Print in good condition apart

from left margin, where the original frame

moulding made contact with print, shows

a small loss of emulsion and staining, not

shown in illustration.

426 by 530mm (16¾ by 20¾ inches).

The image shows the Expedition’s cook,

Thomas Clissold, brandishing an ice pick atop

the “Matterhorn Berg”. No.114 in the Fine Art

Society Exhibition Catalogue.

Ponting was with Scott on the Terra Nova

expedition to the Ross Sea and South Pole.

He is regarded as the pioneer of modern

polar photography in that he was the first

person to combine the science of recording

polar expeditions with fine art photography

and was the first professional photographer

to be employed on an Antarctic expedition.

His magnificent blue-green pigment carbon

prints are among the finest examples of

oversize pictorial photographs in the history

of photography and were widely exhibited

during his lifetime.

[ref: 1348] £6,500

12. PONTING, HERBERT GEORGE.

Midnight in Antarctic Summer. 1913.

Blue-toned carbon print, photographer’s

blindstamp ‘H.G. Ponting’ titled and

numbered ‘96’ on the Fine Art Society label

on verso. In fine condition.

530 by 736mm (20¾ by 29 inches).

A very evocative photograph, showing

icebergs across a bay, taken by Ponting on

Captain Scott’s last (Terra Nova) expedition.

This image was later published as “The

summer glory of the midnight sun” opposite

page 198 in The Great White South by

Ponting in 1921.

[ref: 1341] £12,500

13. GOODWIN, HENRY B.

Female portrait. c.1920.

Silver gelatin print.

Photographer’s credit and date on image.

295 by 235mm (11½ by 9¼ inches).

From the collection Paul Nadar/Thullier.

Sotheby’s 27 October 1999 Marie-Therese

and Andre Jammes. Lot 238.

[ref: 1175] £2,750

14. LEHNERT, RUDOLPH AND

LANDROCK, ERNST HEINRICH.

Portrait of a woman. c.1912.

Silver gelatin print, studio stamp and

number in negative.

290 by 395mm (11½ by 15½ inches).

[ref: 1342] £1,250


15. PHOTOGRAPHER UNIDENTIFIED.

Egyptian woman. c.1875.

Albumen print.

270 by 195mm (10¾ by 7¾ inches).

[ref: 1153] £650

16. DU CAMP, MAXIME.

Colossi, Temple of Abu Simbel, Egypt.

c.1850.

Salt print, pasted on original publisher’s

mount. Plate 104.

Blanquart-Evrard, Lille. 216 by 165mm (8½

by 6½ inches).

These plates are from the celebrated

publication ‘Egypt, Nubia, Palestine and

Syria, Photographic Pictures Collected During

the Years 1849, 1850, and 1851’.

Du Camp learnt calotyping from Gustave

Le Gray and in 1849 persuaded the

French Ministry of Education to send him

on a photographic tour of archeological

sites, accompanied by the novelist

Gustave Flaubert. Du Camp focused on

photographing the pyramids, the sphinx

and other Egyptian monuments. On their

twenty-one-month tour, Du Camp made

220 calotypes, 125 of which were printed by

Louis-Desire Blanquart-Evrard and published

as Egypte, Nubie, Palestine et Syrie, the first

book about the Middle East illustrated with

actual photographs. After his return, Du

Camp gave up photography and devoted his

time to writing.

[ref: 1235] £2,500


Medinet-Habou, Luxor, Egypt. Mortuary

Temple of Ramses III.c.1850.


mount. Plate 47.

Blanquart-Evrard, Lille. 210 by 165mm

(8¼ by 6½ inches).




the Years 1849, 1850, and 1851’.

[ref: 1237] £950

18. FRITH, FRANCIS.

Portico of the Temple of Dendera,

Egypt. c.1870.

Albumen print. Pasted on original mount,

publisher’s title on mount.

220 by 165mm (8¾ by 6½ inches).

[ref: 1306] £450

19. FRITH, FRANCIS.

Pharaoh’s Bed, Island of Philae,

Egypt. c.1870.

Albumen print. Pasted on original mount,

publisher’s title on mount.

220 by 165mm (8¾ by 6½ inches).

[ref: 1307] £450

73

20 - 22. BONFILS, FELIX.

Palestine Album. c.1878.

Quarto (470 by 340mm.) Two maps,

ninety-six albumen prints, (215 by 280mm.),

one three-plate panorama, all pasted

down, one to a page, photographer’s

credit, title and number in negative, also

titled in German manuscript, most in very

good condition, Index written in German

manuscript with negative numbers, maroon

half-calf, titled in gilt ‘ Bilder vom HeilLand’

on spine.

A grand travel album from an Imperial

Library.

Jerusalem is the main subject matter with

religious sites in and around the walls shown.

Other locations include Tantur, Bethany,

Hebron, Bethlehem, Mar Saba, Jericho,

Ein as Sultan, Sichem, Samaria, Bethulia,

Nain, Berg Tabur, Nazareth, Tiberius, Mount

Carmel, Akko, Tyrus and Sidon.

This imperial collection of photographs was

a gift from Mr Jacques Mislin (1807 - 1878) to

a monastery in Vienna. Mislin was a priest

who made a journey through the Holy Land

and wrote extensively about his travels. He

was teacher of geography to Emperor Franz

Joseph I of Austria and his brother Archduke

Ferdinand Maximilian (born 1832, the future

Emperor Maximilian of Mexico) . Mislin later

became librarian to Gisela Maria Louise,

Duchess of Parma, who was the second

and eldest surviving child and daugther of

Emperor Franz Joseph I of Austria and the

second wife of Napoleon. This album forms

part of this Imperial Library.

Extract from Msgr. Jacques Mislin. ‘Les saints

lieux, pèlerinage à Jérusalem, Paris, 1858’.

Msgr. Jacques Mislin (Porrentruy 1807-

Vienna 1878), of Alsatian origin, visited the

Holy Land in 1848 and again in 1855. The

latter voyage was described in his book

(“The Holy Places, Pilgrimage to Jerusalem”)

published in two editions in 1858 and a

third in 1876, which earned him numerous

distinctions and was subsequently translated

from the original French into a number of

other languages (although not English). He

was accompanied on this voyage by Leopold,

Duke of Brabant and future King of Belgium,

and his wife.

“Having arrived at the Jaffa (or Pilgrim’s)

Gate, several Turkish soldiers wanted us to

submit to some sort of formality. While our

dragoman argued with them, we passed into

the city and headed towards St. Saviour’s

Monastery, where we arrived at four in

the afternoon. The Franciscan Fathers

received us warmly, extending all possible

courtesies and attention. They gave rooms

at the monastery to Msgr. Pompallier and

myself, while our companions were lodged

in the Casa Nova, which also belongs to

the monastery and is separated from it

only by a narrow street. Two Fathers were

placed at our disposition, Father Lorenzo, a

Piedmontese, and Father Joseph, a Spaniard.”

“As soon as I was installed in my little cell,

I wanted to go immediately to the Holy

Sepulchre. Father Lorenzo informed me that

it was necessary to receive permission from

the Turks, and this could only be obtained on

the following day.”

“With what avidity my gaze fell on those

objects that had interested me so greatly,

that I had seen in my imagination my entire

life, and that now I was seeing in reality! I

was really in Jerusalem! I told myself: here is

the Church of the Holy Sepulchre, here are


the Garden of Olives, Jeremiah’s Grotto, the

Brook of Cedron! My heart had divined all

these places even before they were pointed

out to me: had I been alone, how long I

would have stayed to contemplate them!

Returning to the monastery, I was informed

that I could now go to the Holy Sepulchre.

I left immediately with Father Lorenzo,

and five minutes later I was kneeling down

alongside the tomb of my Savior. Here was

the place where they laid him! Ecce locus ubi

posuerunt eum (Mark 16: 9). To find oneself,

after a life of restlessness, after having been

involved for so long in so many things that

consume the soul and turn one away from

God, to find find oneself, I say, all at once so

strongly in the service of God, with the pure

and fresh emotions of childhood; this is the

sweetest pleasure that can be experienced.”

“I returned to the monastery to write to

those in Europe who, in their thoughts, had

accompanied me on this holy pilgrimage.

I had achieved the goal of my wishes, now

I had to help my friends participate in my

happiness. I then made myself ready to visit,

on the following days, in a systematic and

fruitful manner, all that interested me in

Jerusalem.”

[ref: 1346] £6,500

23. BONFILS, FELIX.

Bab Al-Saghir Cemetery, Damascus,

Syria. c.1867.

Albumen print. Photographer’s credit and

number in negative, pasted on original card.

Rare early work, likely to have been taken by

Felix himself rather than the studio.

230 by 290mm (9 by 11½ inches).

[ref: 1213] £850

24 - 25. DU CAMP, MAXIME.

Six views of Baalbek, Lebanon. c.1850.

Six views of the Temple of Jupiter, Baalbek.

salt prints, all on original publisher’s mount.

Blanquart-Evrard, Lille.

160 by 210mm (6¼ by 8¼ inches).




the Years 1849, 1850, and 1851’.

[ref: 1218] £8,500


The Mosque of Omar, Jerusalem. c.1850.


mount. Plate 117. Very good rich tones.


160 by 220mm (6¼ by 8¾ inches).




the Years 1849, 1850, and 1851’.

[ref: 1236] £3,750


Temple of Jupiter, Baalbek, Lebanon. c.1850.


mount. Plate 125.


160 by 210mm (6¼ by 8¼ inches).

This plate is from the celebrated publication

‘Egypt, Nubia, Palestine and Syria,

Photographic Pictures Collected During the

Years 1849, 1850, and 1851’.

[ref: 1238] £950

75

28. TRIPE, LINNEAUS

Amerapoora, corner of Mygabboodee-tee

Kyoung. September - October 1855.

Salt print. Photographer’s credit (in

manuscript) on print (lower right corner).

Pasted on original mount, printed title in

cartouche. In very good condition.

265 by 350mm (10½ by 13¾ inches).

This salt print is from a portfolio of 120 prints,

with a close view of the wood-carving at

the corner of a kyaung (monastery) near

where the British delegation was housed at

Amarapura in Burma (Myanmar). In 1855 an

officer from the Madras Infantry, Linneaus

Tripe, was attached as official photographer

to the diplomatic mission sent from India

to the Burmese capital of Amarapura. The

mission’s goal was two-fold: to negotiate with

King Mindon Min his acceptance of British

rule over Pegu, and to gather information

about the country in every detail.

[ref: 1352] £5,500

29 - 31. JACKSON, J AND BENTLEY

(ATTRIBUTED TO).

Burma Collection. c.1868.

Sixty-two albumen prints, ranging in size

between 210 by 260mm and 20 by 135mm.

Many with titles, no sign of photographer’s

studio. Some fading and spotting, otherwise

a fine collection of early Burma.

A large group of both topographical views

and types from 19th century Burma.

Not much is known about the photographic

studio of J Jackson. He worked with a Private

Bentley 1865-1869. Jackson then teamed

up with Lawrie 1871 - 1884. The German

photographer Philip Adolphe Klier formed

a partnership with Jackson between 1885 -

1888. Finally the Jackson studio carried on

into 1915.

A full list is available on request.

[ref: 1303] £7,500


32. KLIER, PHILIP ADOLPHE.

Burmese Beauty. c.1880.

Albumen print. Good condition,

photographer’s title, number and credit in

negative.

270 by 210mm (10¾ by 8¼ inches).

In 1871 he was a professional photographer

in Moulmein, Burma. His business included

work as an optician, watchmaker, and

jeweller as well running the firm known as

Murken & Klier. Around 1880 Klier moved to

Rangoon, Burma‘s largest city. In the wake

of the conquest of the Irrawaddy Delta by

the British in 1852, Rangoon had become the

center of Indo-British power. Klier worked

independently until 1885 when he went into

partnership with J. Jackson. By 1890 the

partnership was dissolved and Klier became

and independent again.

He sold his views of Lower Burma, Maulmain

and the Andaman Islands, and ‘Burmese

celebrities and characters of Burmese life‘. A

number of his photographs were produced as

photogravures in art books of the time.

[ref: 1243] £650

33. AFONG, LAI

House-boat, Canton, China. c.1870.

Albumen print. Pasted on original support,

printed title on paper cartouche.

215 by 285mm (8½ by 11¼ inches).

[ref: 1337] £1,250

34. BLACK (JOHN REDDIE, EDITOR).

The Far East Journal of 1877.The New Series,

Volume 3, July to December, 1877.

The Far East. A Monthly illustrated Journal,

Vol. 3, July to December, 1877.

Thirty-six albumen prints, captioned on the

mounts, maroon morocco.

John Reddie Black founded The Far East

in May 1870 in Japan. His intention was

to foster, through cultural commentary,

“goodwill and brotherhood between the outer

world and the subjects of the most ancient

imperial dynasty of the world” (J.R. Black,

The Far East, No.1, 1870, Heinz and Miyoko,

p.135).

Black initially relied upon free photographic

contributions from Michael Moser, and a few

outside contributors supplemented by his own

photography. However, as the journal grew in

popularity, and as quality became increasingly

important, Black was forced to remunerate

outside photographic contributors including

Kuichi Uchida , Suzuki Shin’ichi, William

Saunders and Thomas Child.

From 1876, The Far East was published in

Shanghai, where J. R. Black had settled.

Accordingly, the photographic subjects

appearing in the newspaper were now

predominantly Chinese. By that year, the

circulation was probably in the order of 300

readers, and between 1876 and 1878 the

maximum circulation was probably between

500 and 1000 readers. There is no evidence

of further publication of The Far East after

December 1878.

A full list of images is available on request.

[ref: 1343] £1,4750

77

35. PUN LUN (ATTRIBUTED TO).

Chinese studio portrait. c.1870.

Albumen print. Very good condition with

rich tones, pasted on original album sleeve.


Pun Lun’s photography shop features on the

cover of ‘Picturing Hong Kong Photography

1855 - 1910’ by Roberta Wue et al.

[ref: 1241] £2,000

36 - 40. WU, DR.

Chinese views. c.1950.

Five silver prints, mounted on original

board, photographer’s inkstamp on verso.

490 by 385mm (19¼ by 15¼ inches).

These prints are from a traveling exhibition

by “The Photographic Society of America”.

[ref: 1252] £6,000

41. TRIPE, LINNEAUS

The Approach to the Temple at Trivadi. 1855.

296 by 371mm (11¾ by 14½ inches).

Provenance:

Robert Hershkowitz

Collection of Hans Van Den Bogaard

[ref: 1345] £7,500

42. BEATO, FELICE.

The Iron Bridge over the Gomti River,

Lucknow. c.1858.

Albumen print. Titled in manuscript.

235 by 295mm (9¼ by 11½ inches).

[ref: 1318] £750

43. BEATO, FELICE.

The Kutub Minar, Delhi. c.1858.

Two albumen prints.

590 by 255mm (23¼ by 10 inches).

[ref: 1244] £950

44. BEATO, FELICE.

Nautch girls, Amritsar. 1858.

Albumen print. Very good rich tones,

pasted on original mount.

295 by 250mm (11½ by 9¾ inches).

[ref: 1305] £2,750

45. BEATO, FELICE.

The Tara Wala Kothi Observatory,

Lucknow. c.1858.

Albumen print. Titled in manuscript.

235 by 290mm (9¼ by 11½ inches).

10 mm clean tear in top right corner.

[ref: 1319] £750

46. BOURNE, SAMUEL.

Bridge over the Rungnoo below Ging,

Darjeeling. c.1875.


number in negative.

235 by 280mm (9¼ by 11 inches).

[ref: 1322] £350


47 - 49. BOURNE, SAMUEL.

Views of India. Album. c.1870.

Oblong 4to (365 by 530mm.), Forty-nine

albumen prints (230 by 290mm.), six by an

unidentified photographer (attributed to

Edward Sache) are a smaller size of 180 by

240mm., all in very good condition, pasted

one to a page, photographer’s credit and

number in many, titles in French manuscript,

contemporary brown morocco, embossed

monogram on upper board, AEG.

A grand album, beautifully bound with a

classic collection of early photographs by the

photographer Samuel Bourne.

Views include Benares, Lucknow, Agra, Futtypore

Sikri, Delhi, Secundra, Deig, Trichinopoly, Bombay,

Darjeeling and a number of portrait studies.

[ref: 1350] £15,000

50. BURKE, WILLIAM.

Medical Staff, Kabul, Afghanistan. c.1880.

Albumen print. Pasted on original album

page, titled in manuscript, photographer’s

credit and number in negative.

185 by 300mm (7¼ by 11¾ inches).

[ref: 1351] £550

51 - 53. BOURNE, SAMUEL.

India and Afghanistan Album. c.1878.

Oblong quarto (360 by 440mm). Ninety-nine

albumen prints (230 by 285mm.) mounted

back to back, titles in manuscript, many signed

and numbered in the negative, contemporary

maroon half-calf, lettered in gilt ‘India & Kabul’.

The album is split between views of India and

that of Afghanistan. The Afghan set comprises

forty-four of the images, all showing the

Second Anglo-Afghan War. The photographs

were taken by the Bengal Sapper and Miners.

The album has a family crest with the motto

‘There is no difficulty to him that wills’. Indian

views include that of Agra, Secundra, Deig,

Delhi, Lahore, Simla and others. The Afgan

views are centred predominantly around the

city of Kabul.

[ref: 1313] £12,500

79

54. BOURNE, SAMUEL.

Panorama of Calcutta. Viewed from the

Ochterlony Monument.c.1868.

Albumen prints. Seven-part panorama, very

rich tones and in very good condition. Each

plate approx 180 by 310mm.

170 by 2220mm (6¾ by 87½ inches).

Samuel Bourne was one of the most well-

known British photographers working in

India during the nineteenth century. During

his six-year stay (between 1863 and 1869) he

took more than two thousand photographs.

A certain number of his images are hard to

come by, especially an intact panorama such

as this one illustrated.

The far left of the panorama shows the River

Hooghly entering the city, the many boat

masts are evidence of the river’s importance

to trade. Following the river, one can see

the city topography, which encompasses all

the important and significant architectural

monuments, including Government House

and Esplanade Row. On the right of the

image large Mansions are shown lining

Chowringhee Road, one of the oldest roads in

the city. Fort William can also be seen on the

far right of the image. The photograph was

reproduced in the book ‘India Through the

Lens. Photography 1840 - 1911.

[ref: 1239] £6,500

55. BOURNE, SAMUEL.

Source of the Ganges, Ice Cave at the foot of

the Glacier. c.1866.


number in negative. #1543.

240 by 290mm (9½ by 11½ inches).

[ref: 1169] £1,250

56. BOURNE, SAMUEL.

Tukvar, Darjeeling. c.1875.


number in negative.

245 by 300mm (9¾ by 11¾ inches).

[ref: 1323] £350

57. DIXON, HENRY.

The Ashurkhana, Dodda Ballapura,

Mysore. c.1865.

Large albumen print. photographer’s title

and credit in cartouche on original support.

250 by 370mm (9¾ by 14½ inches).

It is very rare to find large format albumen

prints by this photographer.

[ref: 1212] £3,500

58. MURRAY, DR JOHN.

A distant view of the Taj Mahal, Agra. c.1860.

Large albumen print, pasted on original

mount, titled in manuscript

‘Taj from a distance’.

355 by 430mm (14 by 17 inches).

[ref: 1316] £1,750


59. PENN, ALBERT THOMAS WATSON.

Toda Woman. c.1865.

Albumen print.

270 by 210mm (10¾ by 8¼ inches).

[ref: 1315] £1,750


Fakir. c.1850.

Salt print.

200 by 105mm (7¾ by 4¼ inches).

[ref: 1339] £650


Maharaja.

Salt print.

180 by 135mm (7 by 5¼ inches).

[ref: 1334] £1,750

62. SHEPHERD, CHARLES AND

ROBERTSON, JAMES (ATTRIBUTED TO).

Moravian missionaries and their Ladakhi

converts. c.1866.

Albumen print.

185 by 230mm (7¼ by 9 inches).

The picture shows three Moravian

missionaries and their Ladakhi converts in

1866. The Moravians set up their mission

in Lahul (now in the modern Indian state of

Himachal Pradesh) in 1856, but their first

converts were from Ladakh (now part of

Jammu & Kashmir). The three Europeans are

(from left to right): Heinrich August Jäschke

(1817-1883), his wife Emilie Jäschke (1823-

1901) and August Wilhelm Heyde (1825-1907).

Jäschke is well known as the compiler of a

Tibetan-English Dictionary (1881) and as the

translator of most of the New Testament into

Tibetan. Heyde was one of the two pioneers

of the mission having set out from Germany

in 1853: he served in India for 50 years

without a break until returning home in 1903.

The Ladakhi standing at the right is Samuel

Joldan, and the two men sitting cross-legged

on the carpet are Matthäus Lhaskyab (left),

and Nikodemus Sonam Stobgyas (right). The

women are unidentified baptismal candidates,

possibly the wives of the three Ladakhi men.

Thanks to Mr John Bray for this description.

[ref: 1314] £1,250

63. UNIDENTIFIED PAINTER.

Rajput Thakur.

Oil on Canvas.

970 by 650mm (38¼ by 25½ inches).

[ref: 1317] £5,500

81

64 - 65. WHEELER, J TALBOYS.

Delhi Durbar. The History of the Imperial

Assemblage at Delhi, held on the lst January,

1877 to celebrate the assumption of the title

Empress of India by Her Majesty the Queen.

Bourne, Shepherd (illustrator). First Edition.

4to with double-page color litho, 5 other

lithos, 1 reproduction of an engraving and

26 mounted Woodburytypes (all present)

after photos by Bourne and Shepherd.

Frontispiece is a photograph of Queen

Victoria. Other photographs include studio

portraits of the Queen, Lord Lytton, and

eleven Indian rulers; a group of the Khan

of Khelat with Chiefs and Ministers; seven

views of historical remains in Delhi; and

five of scenes at the Durbar at which Queen

Victoria was proclaimed Empress of India.

‘The original photographs, with some

exceptions (not stated which ones), were

taken by Messrs Bourne and Shepherd’

(Wheeler 1877, p.vi. ). Binding is blue

cloth with beveled edges and ornate gilt

decorations and title.

Longmans, Green, Reader, and Dyer,

London, 1877.

[ref: 1260] £4,500

66. HERBERT, F.

Portrait, Samoa. c.1870.

Carte-de-Visite format albumen print.

Photographer’s inkstamp on verso.

94 by 55mm (3¾ by 2¼ inches).

[ref: 1261] £350

67. DUFTY, FRANCIS HERBERT.

Fiji Islanders. c.1875.

Carte-de-Visite. Albumen print,

photographer’s studio stamp on verso.

“Big head” mountain men (kai colo), probably

from Namosi, wearing the huge wigs of

human hair (ulumate) for which they were

famous. These warriors were justifiaby

feared by their coastal neighbours, who

retaliated by stigmatising their name to mean

“bushwhackers”. The men pictured here wear

only malo loincloths. The seated men wear

pigs’ tusks (bati ni vuaka). The standing man

wears a civa pearl-shell and holds a rootstock

club with a fibre-bound handle (waka

vividrasa).

[ref: 1013] £750


Philippine portraits. c.1910.

Nine silver gelatin prints, photographer’s

title, number and monogram in the negative.

180 by 123mm (7 by 4¾ inches).

[ref: 1340] £1250


i

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Pioneers of Photography III Early Travel and...

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